A Very Disney POTO
by Masked Rose
Summary: A silly, sometimes sweet, romp through Leroux's POTO at the expense of Disney material. NEW CHAPTER: CHAPTER 5: The Masked Ball!
1. Scene 1: The Opera Ghost Song

_This work, started many years ago, is a re-telling of Leroux's story using parodies of popular Disney songs. The songs, meant to be sung to various Disney tunes, were written across the years and vary in terms of closeness to their original lyrics and silliness. The work has been rewritten since its first upload, and the chapters are now all in story order, rather than the order in which I wrote them. This means that the newest chapter may be in the middle of the story. Each chapter in this work roughly relates to a chapter in the novel. Some scenes have been excluded due to lack of inspiration or because they just do not lend themselves well to song-and-dance numbers. Additionally, if you are not familiar with POTO and/or various Disney animated films and their songs, this will be significantly less humorous for you than it ought to be, assuming it is humorous at all._

_DISCLAIMER: This well-intentioned piece of work is not meant to offend anyone. Although I did steal both the plot of The Phantom of the Opera and the lyrics/construction of several Disney songs, it was only in fun. I don't claim them as mine._

_The original two opening songs, after review, were really pretty pointless and lacking. Therefore, I've replaced them with a new song based on "Is it the Ghost?" which came to me while I was contemplating how villain songs are fun to sing because you get to ham it up._

The first scene opens in **La Sorelli**'s dressingroom. As she prepares to give her speech, her room is invaded by members of the _corps de ballet_, who claim to have seen the Opera Ghost. However, there is general disagreement as to what the Opera Ghost really looks like, and several conflicting tales emerge:

**THE OPERA GHOST**: (to the tune of "Poor Unfortunate Souls" from The Little Mermaid)

**JAMMES:**

**Joseph Buquet is a steady, sober stagehand.  
But the other day he gave himself a fright.  
He thought he heard a sound,  
And when he turned around,  
He saw the Opera Ghost - and what a sight!  
Like this...**

**UNNAMED BALLERINA:**

**Papin, the fireman, saw something different.  
And firemen are brave, or so they say.  
But on his last patrol,  
To the cellars black as coal,  
He saw the Opera Ghost and ran away! (pathetic)**

**JAMMES:**

**He saw the Opera Ghost!  
So thin, so tall!  
His eyes were like two gaping holes,  
His skin was like a drum,  
And his nose? Oh!  
None at all!**

**UNNAMED BALLERINA:**

**He saw the Opera Ghost!  
So huge, so bright!  
With a face of buring fire  
Like a disembodied flame,  
What a monster!  
What a fright! **

**MEG:**

**Well, I've heard the tales you tell,  
But my Mama knows him well.  
And the Ghost doesn't look like that at all!  
Now, I don't want to be mean,  
But the Ghost **_**cannot be seen**_**!  
No one saw the Opera Ghost!**

Sorelli: Don't be so foolish! No one is going to believe all those stories!  
Meg: Well, I'll tell you one thing: no good will come of it!

**ALL BALLERINAS:**

**There are those who claim the Ghost is just a story.  
There are those who say they've heard him moan and sigh.  
And Gabriel 'bout died when he spotted him beside  
The Persian, who has got the evil eye!  
And we had gossiped and we'd questioned and we'd wondered  
Which of these different stories could be true!  
We'd curse and cry and fret  
But now it seems we've met  
The very figure we'd been longing to!**

**Yes, now we've seen the Opera Ghost!  
To our dismay!  
He was standing right before our eyes  
As plain as you or me  
He is here, and here to stay!  
We've seen the Opera Ghost!  
At last! Indeed!**

**JAMMES:**

**I was seized with a new terror that I've never felt before!**

**MEG:**

**If that **_**is**_** the Opera Ghost, then he's as ugly as a boar!**

**SORELLI:**

**Wait! I thought I heard a noise! He might be **_**right outside the door**_**...!**

**ALL:We've seen the Opera Ghost!**


	2. Scene 2: The Opera House is Haunted by a...

_Based on the chapter "In Which, for the First Time, Messrs. Debienne and Poligny Secretly Tell the New Directors of the Opera, Messrs. Armand Moncharmin and Firmin Richard, the True and Mysterious Reason for Their Departure from the National Academy of Music" or "The Mysterious Reason."_

The scene changes to the manager's office, where we see **Poligny** and **Debienne** signing the final contracts with the new managers, **Richard** and **Moncharmin**. As the deal comes to close, **Poligny** and **Debienne** explain one last little detail to their successors.

**THE OPERA HOUSE IS HAUNTED BY A GHOST:** _(To the tune of "Everybody Wants to be a Cat" from The Aristocats)_

Debienne and Poligy:  
**The Opera house is haunted by a ghost,  
And if you mess with this ghost,  
You're gonna be toast.  
In all the important matters he's got the final say,  
And you'd better not try to get in his way.  
And you see every month  
We've got to pay him a bunch,  
20 K, in fact;  
And tho' it's bad for the biz,  
Box 5 is all his.  
It's in his contract.  
Now, you might get the urge to disobey,  
But our ghost's the kind of ghost  
Who gets his own way.  
If you wanna live,  
You gotta give  
And play the host,  
Because the Opera's haunted by a ghost!  
He walks through the walls,  
And he stalks down the halls,  
From here to there and back.  
Those who didn't do what he said,  
Well, they've all turned up dead,  
And that's the end of that!  
Oh, the Opera House is haunted by a ghost,  
And if you mess with this ghost,  
You're gonna be toast.  
Tho' we sound mad, you've not been had; it ain't a hoax!  
You better watch out for the Opera Ghost!  
You better watch out for the Opera Ghost! **


	3. Scene 3: In the Dressingroom

_Based on the chapter, "The New Marguerite."_

As **Christine** finishes singing her solo, she faints into the conveniently nearby arms of a fellow performer. Roaring applause follows and **Christine** is carried to her room. **Raoul de Chagny** is seen in a box seat applauding excitedly, then rushing off to Christine's room. As he arrives, he joins the doctor in trying to reawaken **Christine**. He bends to give her the magical "first kiss of true love" that always succeeds in waking sleeping beauties, but before he can, she comes to and looks at him with fright. When she asks him who he is and what he is doing, **Raoul** reminds her of their days of shared childhood frolicking:

**RAOUL:** _(To the tune of "Once Upon a Dream" from Sleeping Beauty)_

**You know me, I walked with you  
All Those Years Ago  
You know me, you wore a red scarf  
That day when the wind did blow  
And it blew away  
The wind to the see, your scarf in tow  
But then there was me  
I ran to the sea  
And fetched out your scarf  
Your lovely red scarf  
Those Years Ago **

**And it blew away  
The wind to the sea, your scarf in tow  
But then there was me  
I ran to the sea  
And fetched out your scarf  
Your lovely red scarf  
Those Year Ago **

**_(Christine show no sign of recognition)_ **

**You know me, I walked with you  
All Those Years Ago  
You know me, I played by your side  
And how I loved you so  
But then one sad day  
It came to an end; I had to go  
But as you can see  
I'm here—it is me!  
And I loved you at once  
The way I did once  
Those Years Ago **

*******

Christine gives Raoul an odd look and laughs, telling him she still does not remember who he is and she would like to be left alone now. Raoul goes dejectedly out of her room into the empty hall and watches the doctor disappear down the stairway. Suddenly Raoul brightens up and exclaims to himself out loud that Christine wanted to be left alone to be with him. Thus saying, he turns to knock on the door when the sound of a male voice floats to his ears from inside the room, saying, "You must love me." Christine responds that she is trying her best, but that there are so many distractions and temptations in the opera house that sometimes she finds it hard to remain faithful to her music. The male voice responds by giving Christine a little advice:

**MALE VOICE:** _(To the tune of "Give a Little Whistle" from Pinocchio)_

**When your voice is wav'ring and the notes you hit are wrong,  
Call upon your Angel! Call upon your Angel!  
When you're feeling empty and in need of someone strong,  
Call Upon your Angel! Call upon your Angel! **

**Not just a little squeak! Take a breath and sing!  
And if your voice is weak, well, just bang on the mirror. **

**CHRISTINE: **

**Right! **

**MALE VOICE: **

**When you're sick of viscounts  
And you wish Carlotta'd die,  
Call upon your Angel! Call upon your Angel!  
And always let the Angel be your guide! **

**Christine**, feeling much refreshed, thanks the male voice and bids it good-night. The she leaves her room and walks down the hallway and down the stairs, completely oblvious to **Raoul**. As soon as she is gone, **Raoul**, with a look of love-starved agony on his face, rushes into the vacated dressing room, shouting challenges left and right. He begins to sing "Come Out, Come Out, Wherever You Are" from The Wizard of Oz before he realizes that this is not a Disney song and that he is making a fool of himself as there is no one there.


	4. Scene 4: Angel Mine

_Based on the chapter, "The Enchanted Violin."_

We find ourselves in a small graveyard in Perros-Guirec, where **Christine** has been praying at her father's grave. **Raoul** is also here because he has followed Christine. When he confronts **Christine** about the voice in her dressing room, **Christine** explains the phenomenon by reminding **Raoul** of a story her father used to tell them as children:

**CHRISTINE:** _(To the tune of "My Own Home" from The Jungle Book) _

**Angel mine, Angel mine,  
Angel mine, Angel mine, **

**Father told me of an angel  
Who would one day come to me  
An angel who'd instruct my singing  
He would set my spirit free.  
Sprit free, spirit free,  
This angel would perfect my singing  
He would set my spirit free.**

**Well, lately I have had instruction  
From a voice that speaks to me  
I know it's my Angel of Music  
Though his face I never see  
It must be my Angel of Music  
Though his face I never see**


	5. Scene 5: The Masked Ball

_Based on the chapter, "At the Masked Ball."_

The scene changes to a spectacular Masked Ball. Everyone is dressed in colorful costumes and carousing merrily. Everyone, that is, except for two nervous figures, one in a black domino, the other in a white, who rush up the stairways and down the corridors as though they were being chased. The mysterious pair hide themselves in an empty box, where they can at last speak privately. They are **Raoul** and **Christine**, and **Raoul** is determined to get some answers from the long-absent singer!

**WHAT AM I TO BELIEVE:** _(To the tune of "I Won't Say I'm in Love" from __Hercules__) _

**RAOUL:**

**You speak of love and expectation,  
And yet you lie in the same breath.  
First you were sighing over angels,  
And now you've come here to waltz with Red Death.**

CHRISTINE:

**Try to understand me.  
It's the past, so just forget it.  
Raoul, don't reprimand me.  
Hold your tongue or you'll regret it!  
All the things I've been through,  
You cannot pretend to,  
And you can't conceive!**

**RAOUL:**

**No~! It's such a drain to contain it, no no.**

CHRISTINE:

**Oh, please just try to deny it, oh no.**

**RAOUL:**

**I've tried in vain. What am I to believe?**

**What kind of sordid recreation  
Have you been spending your time on?  
First lying and prevarication,  
Then disappearing from dusk until dawn!**

**CHRISTINE:**

**Raoul, my time is through here.  
This will be my last endeavor.  
When I say farewell, dear,  
It will mean good-bye forever.  
If you ever knew me,  
If you loved me truly,  
Then believe in me right now!**

**RAOUL:**

**No~! I've too much pain to restrain it, no no.**

CHRISTINE:

**Look in my eyes. What would lying achieve?**

**RAOUL:**

**I'll go insane! What am I to believeeeeeee?**

**CHRISTINE:**

**I'm hurting too, just like you – please believe!**

**RAOUL:**

**You want my trust, well then gain it.  
Leave if you must, but explain it!**

**CHRISTINE:**

**I'm not lying! If you'd only believe…**

**RAOUL:**

**My heart's dying. Help me finally believe.**


	6. Scene 6: The Roof

_Based on the chapter, "Apollo's Lyre."_

We are transported to the roof of the Paris Opera House, where **Christine** and **Raoul** sit huddled underneath the statue of the Greek god, Apollo. As they huddle, **Raoul** induces **Christine** to explain to him her mysterious disappearance of several weeks ago. Gathering her courage, **Christine** launches into an account of the strange events following her disappearance.

**HE'S A MAN:** _(To the tune of "Kill the Beast" from Beauty and the Beast)_

**CHRISTINE:  
It was then my angel came; he was beckoning to me.  
I was walking towards my mirror when I found quite suddenly  
I was no longer inside my room, just how I did not know.  
Then a man appeared before me and he led me down below... **

**Down the stairs, 'cross the lake, through the shadows of the cellars  
And the catacombs he led me by the hand.  
And he talked as we walked, and it was there in the darkness  
Of the dungeons that I came to understand:  
He's a man with the voice of my angel,  
All his boasts and his ghosts were a sham.  
Neither Phantom nor friend, no, it turns out in the end  
He's a man! He's a man! He's just a man! **

**Christine: So it turns out he was a man all long. His name is Erik.  
Raoul: Why that liar! Oh, Christine, I knew there was something fishy about your angel. You never have trusted him!  
Christine: But he had such a beautiful voice...  
Raoul: So what happened next? Did you see him? What did he look like? **

**On his face was a mask, and he told me not to touch it  
But I had to know my angel, had to see!  
All it took was one look when he whirled around to face me,  
Oh my God! I'll not forget that memory!  
He's a man with the face of a monster!  
With a shout, he reached out, and I ran.  
But he caught my arm tight; I was forced to face the sight  
Of that man! (Oh God, Raoul, he looks like a corpse!) **

**Christine: I should never have taken off his mask. It's all my fault. Oh, Raoul, what am I going to do?  
Raoul: It's all right, Christine. You're safe from him here. Tell me what happened next. **

**How he cursed and he cried, and I thought that he would keep me there  
Imprisoned, but I came up with a plan!  
I left my fear behind,  
I was comforting and kind,  
All the time I kept in mind,  
He's just a man! **

****Flashback scene:** **

**Erik: Oh Christine, Christine. Why did you want to see? Now you will never care for me.  
Christine: I could never care for someone who made me a prisoner.  
Erik: But if I let you go, you will leave me forever.  
Christine: No! I promise to return!  
Erik: Very well then. I shall return you to the world above, because I love you, Christine. But if you break your promise, you'll live to regret it! You can be sure of that! **

**So each week I return, and he tells me that he loves me  
And he does everything for me that he can.  
And he's kind, that is true,  
But he knows that I love you,  
And now I fear what he might do!  
He's a man! **

**Erik: I'm not an angel, but I am still your teacher. Do you wish to hurt me?  
Christine: No, of course not!  
Erik: Then promise me you will stay from Raoul! **

**He's a man!  
He's a man! **

**Christine: You're very kind to me, Erik.  
Erik: I want you to be happy, Christine. Here, wear this ring as a token of my love. So long as you wear it, I will protect you from all harm. But if you should lose it, beware! **

**He's a man!  
He's a man! **

**Raoul: Christine, you've got to get out of here! I will take you away from him forever!  
Christine: Oh, Raoul, I don't know what to do. I'm so torn! **

**He's a man!  
He's a man!  
He's a man! **

*******

After hearing **Christine**'s horrific tale concerning her kidnapping by the Opera Ghost, **Raoul **commences to explain to her why he is the right man for her and together they express their love with their characteristic intelligence and depth:

**IV'E GOT NO MASK: _(To the tune of "I've Got No Strings" from Pinocchio)_ **

**RAOUL:  
I've got no mask;  
I look so fine.  
And you'd be glad if you were mine  
To have someone so d*mn pretty.  
You'll find no mask on me! **

**Hi-ho the me-ri-o  
That's the only way to be!  
How can you love him so  
When you have someone like me? **

**Hi-ho the me-ri-o  
I will help you make it through.  
I want the world to know  
I'm the only one for you! **

**I've got no mask,  
I'm not insane  
I think it has become quite plain  
I'm Mr. Right  
For as you see  
There is no mask on me! **

**CHRISTINE:  
You have no mask.  
You make me swoon.  
And though you can't carry a tune,  
At least you are not raging mad.  
I guess you're not so bad. **

**You've got no mask  
That much is clear.  
When I'm with you, I have no fear.  
If you'd a mask  
I'd go with him.  
But since you don't, you win! **

**But I can't just disappear.  
Let me sing for him once more.  
If you'll wait for me here,  
Then I promise to be yours! Hey! **

*******

On the last note, **Christine** pulls **Raoul **closer and the two kiss affectionately. As they do so, Erik's ring falls conspicuously to the floor with a loud clatter. All the same, **Christine** does not notice and she and **Raoul** rush off the scene, giggling like a pair of teenagers. Suddenly, **Erik** becomes visible from behind the statue of Apollo. As **Erik** does not have the typical Disney badguy-sidekick to blast, beat, maim or otherwise inflict torture upon, he expresses his frustration and sorrow involving the recent turn of events by singing:

**WHEN YOU HAVE TO WEAR A MASK: _(To the tune of "When You Wish Upon a Star" from Pinocchio)_ **

**ERIK:  
When you have to wear a mask  
Doesn't matter what you ask  
Everything you heart desires  
Becomes taboo **

**All that's left to do is dream  
For you can't even be seen  
If you have to wear a mask  
As I do **

**Fate is cruel  
That I should fall in love  
And never find fulfillment of  
My secret longing **

**Like a bolt out of the blue  
Fate can tear your life in two  
If you have to wear a mask  
No one loves you!**


	7. Scene 7: OG

_This__ next song is based on the chapters "The Singular Attitude of a Safety Pin" and "The Safety Pin Again" from the original novel, and rather unapologetically pointless for anyone who hasn't read the book. So if you're saying to yourself, 'Who the hell is _REMY_?" that's why._

When, in the first chapter, I said "some scenes do not lend themselves to song-and-dance numbers," I probably meant this scene. But here it is anyway: After **O.G.** mysteriously manages to steal 20,000 francs from Box 5/**RICHARD's** pocket right under everybody's noses, panic ensues, during which **MADAME GIRY **is locked in a room, the managers try to figure out what happened by going through their day backwards, and the money is attached to **RICHARD's** pocket via a safety pin.)

**O.G.'s ALWAYS ONE STEP AHEAD_ (to the tune of "I Just Can't Wait to be King" from The Lion King)_**

_(Remy confronts Gabriel in the hallway after the strange events of the 20,000 franc notes.)_

**GABRIEL: **My dear old friend, what can be up? You look like something's wrong.  
**REMY: **For starters, I would like to know where Madame Giry's gone.  
**GABRIEL: **Well, that's a decent question, but I haven't got a clue!  
**REMY: **Oh, but from that smirk upon your face, I'd say you prob'ly do.  
I don't believe a single word you've said!  
**GABRIEL: **It seems O.G.'s always one step ahead!

_(The opera staff watches with confusion as the managers attempt to retrace their steps.)_

**STAFF: **Now they're walking backwards!  
Staring at the ceiling!  
Shaking hands with no one!  
How our heads are reeling!  
What's the cause of all this grief?  
Will we ever catch this thief?

_(Finally, Moncharmin and Richard confront each other in their office.)_

**MONCHARMIN: **I think it's time that you and I were honest and came clean.  
**RICHARD: **By that you think that I'm the one who took the Francs, you mean!  
**MONCHARMIN: **Since you're the one who touched them last, I'd say it must be true!  
**RICHARD: **Well, I'll have you know, the way I see, the culprit must be you!  
In seems the two of us have been misled!  
**BOTH**: That O.G.'s always one step ahead!

_(Hilarious hijinks with safety pins ensue.)_

**STAFF: **Tiptoe through the hallways,  
Keep the chandeliers dim,  
Lock up all your secrets,  
But you'll never stop him!

It doesn't matter what you've heard or read,  
You can't believe the lies that you've been fed,  
One wrong move and you might as well be dead!  
Cause O.G.'s always one step ahead!  
That O.G.'s always one step ahead!  
Our O.G.'s always oneeee step ahead!!


	8. Scene 8: What to Do

_Based on the chapter, "The Viscount and the Persian."_

**Christine** has disappeared off the stage in the middle of her last performance. **Raoul** is utterly confused and helpless, and it appears our heroine will be lost forever, when who should appear but the strange and mysterious **Persian**! **Raoul** isn't sure the man is to be trusted, but, considering the urgency of the situation, he has no other choice than to listen to what **the Persian** has to say:

**WHAT TO DO** _(To the Tune of "Prince Ali Reprise" from Aladdin)_

**THE PERSIAN:  
What to do?  
I will tell you:  
We must go find him!  
Don't you see  
That only we  
Can find Christine?  
That monster's whipped her out of sight!  
He won't give up without a fight!  
We've got to get to his lair without being seen! **

**Stay close by  
For only I  
Know where he's hiding.  
One wrong step  
And you can bet  
You will be toast!  
My boy, this is your last chance  
To save your budding romance.  
I'd hate to think of what terrible fate  
Christine will meet with, if we're too late  
She'll be lost forever!  
It's now or never!  
So come on, Raoul, let's go!  
And catch the Opera Ghost!**


	9. Scene 9: In Our Own World

_Well, this song doesn't really fit anywhere and certainly isn't based on any chapter, but, eh, I wrote it anyway. This is also one of the more blatant rip-off songs as it was written first and before I had developed my intentions._

**ERIK:** _(To the tune of "Part of Your World" from The Little Mermaid)_

**Look at my life, look where I've been  
Think of all of the things I have seen  
Wouldn't you think 'there's a man—a man who has everything'?  
Look at this lair, treasures untold  
How many wonders can one cellar hold?  
Lookin' around here, you'd think, 'Boy! He's got everything!'**

**I've got treasures from far away places  
I've got hundreds of musical scores  
I've got candles and flowers in vases  
But who cares? No big deal. I want more…**

**There is one thing that I'm longing for,  
Something more beautiful and lovely  
Than any of the other things I've ever seen!  
There is one girl who could open the door,  
Lead me into that world above me,  
An angel come down and made flesh—an angel named "Christine!"**

**Then we would sing  
Our endless song  
I know nothing could ever go wrong  
Then it would be  
Just her and me  
In our own world!**

**If I must kill, then I will kill,  
If it will find her.  
Abuse her trust, if I must  
I have no choice.  
Call with my voice  
And she will come  
She cannot run from what her soul desires.  
What can't I do?  
I'm the one who  
Sets her on fire!**

**I will have her or no one will!  
I want to know what it is to be human!  
What is this thing called 'love'? – And why does it burn?**

**When's it my turn?  
Where is my place?  
Must I be damned forever by my face?**

**Wish it could be  
Just her and me  
In our own world!**


	10. Scene 10: Soon You'll See

_This song is based on the chapter, "Interesting and Instructive Vicissitudes of a Persian in the Cellars of the Opera," one of my personal favorites. _

The **PERSIAN** hangs out in the cellars in the hopes of discovering **ERIK**'s plot only to be discovered by **ERIK** himself and given this reprimand:

**ERIK** **_(to the tune of "Be Prepared" from The Lion King):  
_**_with the Daroga (one line in parentheses )_

**You speak of plots and betrayal  
But I tell you, I've nothing to hide!  
Your accusatory portrayal  
Betrays that you fear I have lied.  
In truth, there is no need to worry.  
Christine - she has always been free.  
She simply feels no need to hurry;  
She likes living down here with me!  
So you'll see, when I tell her to leave me.  
Yes, you'll see when she chooses to stay.  
I've already told her, I don't need to hold her.  
****_(You think I'll believe you?)  
_Why would I deceive you?  
How much must I spout it? There's no trick about it!  
And now you'll have nothing to say!  
Yes, the happiest pair we will be.  
Soon you'll see!**

_D: I'll see, will I? And just what will I see?  
__E: That she'll stay.  
__D: As a prisoner!  
__E: No, you fool, as my bride. She loves me.  
__D: Hahaha. Right. She loves her angel, you mean.  
__E: Ninny! I've told her the truth!  
__D: But you...  
__E: I am loved for myself! Stick around and you'll see it with your own eyes!_

**The next time you see this wretched beast,  
It'll be at the Madeleine's door,  
Celebrating my own wedding feast  
With bouquets and choirs and more!  
I've already ordered the flowers,  
I've already written the songs.  
And I'm telling you now, by the powers,  
I won't let one detail go wrong!  
So you'll see when they're singing the Kyrie,  
Oh, you'll see when it's my wedding night:  
All wrongs will be righted, my love soon requited,  
My hand will be taken, no longer forsaken,  
Too late to abort it; I'll never be thwarted!  
To be loved for myself is my right!  
Yes, at last all good things come to me!  
Soon you'll see!  
**_Bwahahahaha, etc._


	11. Scene 11: The End

_This is more or less based on "End of the Ghost's Love Story," just with a flashback instead of narration. A reviewer pointed out that I previously had an ALW kiss in here. Since this is now totally Leroux-based, that's been changed._

At last, we come to the end. **Erik** kisses **Christine** on the forehead and she _lives_. Moved by her compassion and sacrifice, **Erik** comes to a final understanding.

**YOU ARE FREE TO GO** _(To the tune of "Beauty and the Beast" from Beauty and the Beast)_

**ERIK:**

**Now I understand.  
Suddenly it's clear.  
Looking back I find  
My heart was so blind;  
I can't keep you here.**

**Out of fear and greed  
I brought you here below.  
Now I know, of course,  
_Love_ does not use force.  
You are free to go.**

**CHRISTINE:**

**I don't understand.  
Why send me away?  
If you want me to,  
I'll be here with you;  
I promise to stay!**

**ERIK:**

**Angel, don't you see,  
You've opened my eyes.  
If my love were true,  
I would not hurt you.  
Now I realize.**

**I know that you'd stay.  
Believe me, dear, I know.  
But if it's him you love,  
Who am I to judge?  
You are free to go.**

**If it's him you love,  
Who am I to judge?  
You are free to go.**


End file.
